Mastadon is a 19 year old dubstep and bass music producer based in Sydney, Australia. He is currently signed to Never Say Die Records, and also releases music on his own label Malignant Music.
Credits to: Bass Music
GET TO KNOW: MASTADON
With the release of his latest EP on the prestigious Never Say Die Black Label, we decided it was high time we sit down for a proper chat with Australian prodigy Mastadon.
His debut release on the label last summer, Malignant, turned heads with its in-your-face, decimating sound design and annihilating bass throughout. The three track EP included Casket, which delivered adrenaline-fuelled, heavy-metal vibes with one of the heaviest drops known to man, RIP, briefly sampling Drowning Pool’s Bodies for even more chaos, and the title track Malignant, which brought an overwhelming sense of impending doom followed by complete and utter carnage. Basically, this guy is nuts.
By creating these huge, capacious sounds with impressively intelligent arrangement, Mastadon quickly became a hot topic amongst dubstep heads, both in his home country of Australia and abroad, all at the young age of 16. Producing this kind of downright insanity while still maintaining such a high level of quality is no easy feat, and certainly serves as a testament to Mastadon’s rise to success over recent years – it’s no wonder label boss SKiSM sought him out after hearing his bootleg of Trampa and SKiSM’s Black Hole (now an official remix on NSD: Black Label).
Fast forward one year, and Mastadon has just released his sophomore release on the label, the aptly named Decimate EP. Honing his impeccable skill for creating the soundtrack to the human apocalypse, these newest four tracks prove that Mastadon is showing no signs of slowing down.
Hey Hamish, great to have you with us today! Exciting news is your sophomore release on Never Say Die’s Black Label – can you tell us a little bit about this?
I feel this EP is essentially an extension to last year’s Malignant, it maintains the same heavy vibe whilst serving as a platform for me to showcase newer, more flow-y ideas as opposed to the “in-your-face” sound I aimed for when crafting prior releases.
The EP is full of some insanely heavy stuff – can you give us some insight into your sound design process?
Thank you! My sound design process hasn’t really changed, essentially I’ll start with a combination of oscillators from Thor (a synth in Reason), record an extended MIDI note, then render it out as a wav and process it heavily with both reason’s internal FX and third party plugins. At that stage I’ll export it again and repeat the process several times with the same FX chain. Lately, I’ve particularly enjoyed resampling Reason basses within Harmor and experimenting with Ableton’s time-stretching algorithms
What sort of stuff inspires you to write such decimating tracks?
From day one I’ve always been heavily inspired by 2013-2016 tearout dubstep tracks, in fact it was Trampa’s Jurassic EP on Firepower that pushed me to start writing heavier dubstep. Older Cookie Monsta, Aweminus and Destroid tunes have also been a major source of inspiration over the years. These artists continue to be my main sources of inspiration to this day.
Your name obviously bares some similarities to the heavy metal band Mastodon and the now extinct mammoth – were either of these a coincidence?
Funnily enough, when I first started writing tear out it was under the name Mastodon, I just felt it carried on nicely from Elephant Man and suited the direction I was taking with my sound. I wasn’t aware of the band Mastodon until a few months later, leading me to hastily change my name to Mastadon to avoid any legal trouble.
What lead to the change from Elephant Man anyway?
I never truly liked the name Elephant Man and all of the music I wrote during the late 2013-2014 period was crappy wannabe Zomboy music. After completely losing my passion for music in early 2015 I pretty much quit writing music. I hadn’t touched a DAW again until September 2015 when I discovered Trampa’s discography, prior to that I wasn’t aware of dubstep’s heavier side and I instantly fell in love. I felt the name Elephant Man would no longer suffice as it represented entirely different sound, however, I wanted a name that would maintain the proboscidean theme so I thought Mastodon would be the next best thing. However, having already been taken, I settled for the misspell.
Your remix of Trampa x Skism’s Black Hole put the name Mastadon on the map for a lot of people – what was it like remixing a track for two of the biggest names in bass music?
That tune was the first track I made as mastadon and started out as a bootleg. I had just discovered Trampa at the time and really wanted to do something based off one of his tunes. A few days after I uploaded the clip on SoundCloud, Trampa reached out and I shit my pants. Fast forward a few months, Skism caught onto it and decided to sign it to Black Label, although it had never been a true remix.
Is there anyone you’d like to see remix one of your own tracks in the future?
Definitely Trampa, I have always looked up to him so to have him remix one of my own tracks would be a huge honour.
You’ve also got some pretty mighty collaborations under your belt, including tracks with Samplifire, Code:Pandorum, and oddprophet – what was it like working with those guys?
All of these guys are super talented and approachable, I’m glad to have had the opportunity to work with them. The Samplifire and Oddprophet collabs weren’t in my eyes true collabs as they pretty much wrote the track while I only contributed sound design. The Code: Pandorum collab was a lot of fun and we were both able to contribute to the songwriting and sound design in a 50/50 manner. I would love to work with these guys again.
And who would you most like to work within the future?
Obviously, Trampa. Although many other names come to mind, particularly Badklaat, Trolley Snatcha, Phiso and Aweminus.
As one of the biggest names to come out of Australia in recent years, can you tell us a bit about the scene over there?
Whilst not comparable in size to that of the US or Europe, Australia’s Dubstep scene has been growing rapidly and there are a handful of producers who have been absolutely killing it as of late. Some names that come to mind are Leotrix, Chibs, Getorix, Bueg, Duffeey, FLICK, Supercool!, Wraith, and Nexu5. Kron also comes to mind, a homie who is both exceptionally talented on the decks and in the studio.
Where would you most like to play in the future?
Definitely USA, the shows out there look incredible and I’m hoping to get over there as soon as possible. I’d also love to play in Montreal and Paris.
And finally, if Mastodon the band and a mastodon got in a fight, who would win and why?
As much as I love their music, the band wouldn’t stand a chance against the wrath of a 7.8 tonne prehistoric Mastodon.
Credits to: UKF
MASTADON OFFICIALLY CHANGES NAME TO MARAUDA ACROSS ALL SOCIALS
The dubstep wizard that is MASTADON has just recently changed his name. Now going by the moniker MARAUDA, the name change comes as a little bit of a surprise and was unexpected to say the least. However it seems he had good reason to change his name and it is probably for the best.
The rebrand is mainly due to an Atlanta based metal band sharing the same name. Although I should mention that the band does not spell it exactly the same way that MASTADON did (band name spelled Mastodon), nevertheless to avoid getting confused with this band he decided to officially make the switch. It remains unclear whether MASTADON was told to change his name by this band or if he just wanted to change it being that it would most likely make his brand stand out more.
Take a look at the screenshot below from MASTADON’s twitter to see the official switch first hand…
Credits to: EDM Sauce
This is Mastadon‘s debut North American Tour and first time to Reno.
This is the 3rd edition of Bass Camp’s Back2School Party and it sells out every year!
Launching his music career from his freshman dorm room, the Los Angeles-based 22-year-old producer/DJ, Justin Jay, has already seen success that extends well beyond his years, but he is surely not resting on any laurels as he further refines his expertise as a true artist. As the youngest member of the dirtybird family, Justin has seen support by the likes of Claude VonStroke, Jamie Jones, Disclosure, Tiga, and George Fitzgerald, among many others, while also being recognized as a “Future Star” by trusted tastemakers, such as Pete Tong, and fans alike. At the heart of his music, Justin Jay manifests his soul, funk, and jazz roots in a nostalgic, yet forward-thinking manner that yields his unmistakable brand of house music, which has won him releases on labels such as dirtybird, Culprit, Southern Fried Records, & Pets Recordings. His productions have also put him in the spotlight on club and festival stages across the globe, from LA’s HARD Summer to the dirtybird residency at Sankeys Ibiza, where he held crowds in his grasp, taking fans on a rollercoaster of energy and music ranging from deep house to breakbeat to techno. Justin Jay is set to continue building his career one step at a time, not taking any shortcuts and remaining humble, earning his place as a leader in dance music.
Credits to: Resident Advisor
5 things you should know about Justin Jay
Justin Jay Shares Awkward Love Stories in ‘Everything Will Come Together, Pt. 1’ Track Breakdown
“Whether something good or bad happens to you, you get to win when you write a song about it.”
Don’t take it from us. Take it from Justin Jay. He was doing well for himself producing funky tech house tunes, releasing EPs on Dirtybird and Fatboy Slim‘s Southern Fried Records, and that was before he even graduated college. He was touring all the time – too much, really, and when he wanted to take a break, his management told him he couldn’t. He’d lose momentum, they said, but instead, he ditched the management and moved back in with his parents.
He took a deep look inward and did something truly scary. He started writing songs, and not just disco grooves or club bangers, real, honest to the bone, singer-songwriter songs.
“It was just such an awesome experience,” Jay says, an experience that resulted in his sophomore LP Home. “It’s just a little time capsule for how you felt in a certain time.”
He toured the album with his band of musical college friends, the Fantastic Voyage. Then he returned home, a triumphant creative with at least a little bit more confidence, but with all the dust settled, he realized he was alone.
Everything Will Come Together, Pt. 1 is what poured out of Jay when he stopped wondering where his life was going and started wondering who he might spend it with. He calls it his little 500 Days of Summer.
“I’m an over-analyzer,” he says. “I spend a lot of time in my head worrying, and the spirit of Everything Will Come Together is to chill out. It doesn’t matter. Everything’s going to work out the way it’s meant to… It’s not a declarative statement. It’s me poking at myself to try and believe it. I think I’m getting better at just letting go and believing it. I think it’s working.”
It’s touching, relatable and heartwarmingly vulnerable, and Jay got real open about the true-to-life experiences that inspired the album’s lyrics.
“I Know Ur Out There”
Ya know that feeling when you start questioning whether or not, there’s that special someone out there for ya? This song is a response to those insecurities, kind of this overture of, “I know the right person is out there. It’s going to happen.” I wrote this song while on the floor of my bedroom, singing and playing guitar into my computer’s build in microphone. You don’t need fancy gear or a crazy studio to make cool stuff. I was listening to a ton of Mac DeMarco, Tame Impala and The Beatles and wanted to toss all of that in the blender with house music. My homies Benny Bridges and Nick Kennerly came in big with guitar and violin on this song as well. There’s this beautiful, well-recorded acoustic guitar part and violin part juxtaposed with my laptop microphone.
I was performing on Holy Ship , and I met this girl. She was performing, too. It was the first time that I got to get to hang out with her, and I felt like I had this summer camp experience. We were hanging out the first two nights, and I was like, “Wow, she’s so awesome,” and then I was like, “Oh my god, I have a crush on her. You’re probably just another dude she’s nice to because she’s nice to everyone.” Then it was bedtime, and all our friends disappeared for a moment. We were just hanging out, looking at the water, and we kissed! It was just like one of those quick pop kisses, then we had to go to bed and I was like, “That was awesome.”
Then, the following night, I ran back into her, and I was so unbelievably awkward. I couldn’t say anything, I was so shaken up. I spoke to her for maybe 30 seconds coherently, and I ended up just trying to kind of avoid her because I was so scared. When I got back to my room at the end of the night, I thought I blew it. I went to my computer and wrote the basis for this song.
“I’m Shy When I’m Around You”
This is the only song when I’m not singing, because I’m so shy. I made this song on an airplane. It was very inspired by Axel Boman and HNNY. I’d been learning a bit about counterpoint from a music theory teacher and tried employing those skills for the writing of the bass line and lead melody.
I was listening to a lot of Unknown Mortal Orchestra with my friends. This was a super collaborative song with my bandmates; Benny Bridges on guitar, Sam Von Horn on bass, Nick Kennerly on violin. Wrote this song after going out in L.A. one night. It was a very unmemorable evening. I felt empty and unfulfilled and wrote this song at the piano at like 4 a.m.
“When I Met U”
This is another song that I wrote after I got home from night out in LA. It was another situation where I met someone who I think is really cool and interesting, it’s a girl, and she’s cute and stuff, so I end the conversation early to avoid an awkward moment. “Let’s quit while we’re ahead, nice meeting you, I’m gonna go stand over here.” The part about “you don’t have to change” is me saying to myself, “It’s okay to be a little awkward.” Benny bridges played guitar and sang on this one. Sam von Horn and Danny Goliger programmed the synth arpeggios on the Elektron Analogue Keys. Big jazz-funk vibes on this one.
“She’s Afraid To Choose” (feat. The California Honeydrips)
So this is where the storm clouds approach. I’ll be super honest. I was talking to this girl I had a huge crush on. She had this really close guy friend, and we became good friends, too. I thought they were just friends. I took her to a rock show to see my friends’ band Thumpasaurus, and it was awesome. I dropped her off and I was like, “What a great date.” While I’m driving home, she texted me a long communicative paragraph being like, “I had a great night, so much fun. I just want to let you know I’m in an open relationship with another guy. Didn’t want you to be blindsided by that.” I found out it was the friend that I was becoming friends with. I was like, “I feel bad, am I doing something wrong?” It wasn’t an emotional thing as much as it ended up inspiring a really funny song.
“Who’s To Blame”
This was the first song I ever wrote on the guitar. I wanted to make another Mac DeMarco, Tame Impala house song. It follows “She’s Afraid To Choose” where it pits my own insecurities against like her — not indecision but, you know, whatever. It grapples with who’s fault it is that things won’t work out. The answer: it’s hard to say.
“Make Everything (Okay)”
I wrote that song during the time of the first album, but it wasn’t totally done. I didn’t know what I was singing about, but every word felt really correct. It’s me grappling with things coming together or not. It speaks to a time where I was lost and really trying to figure things out. Benny Bridges played guitar, and Danny Goliger played drums. The song began when Ben recorded his vocals through his Electro-Harmonix vocoder pedal. He did a free form improvised take. I chopped it up in Ableton, and the weird vocal chops inspired the rest of the song.
I had a really inspiring night out in LA where I saw Danny Goliger play in his other band, Ferbus. They’re an amazing DIY/art-rock band. I wrote most of the song standing at my sink in my bathroom. I think I brought my computer with me when I went to brush my teeth. Once I started the song, I couldn’t stop. I had some trouble finalizing the lyrics though. I left the song on the back burner for a couple months.
One weekend, the homies and I went to Santa Barbara and stayed at my parents spot up there. It’s in the middle of nowhere in the mountains. The rest of the lyrics poured out of me when I got out of the city. Ben played guitar on this song, and Danny played live drums. I wanted to have a shoe gaze-inspired moment on the album, hence the bridge of this song. This song is about me wanting to make things work even though it feels like things aren’t working out. It’s almost a plea like, “Maybe we can work things out.” It’s me being like, “You’re not alone. I’m here.”
I wrote this on the airplane to Friendship. I wanted to have a banging club track that was arranged for a live band. I had just seen Vinyl Williams perform for the first time a week prior and was super inspired. I was next to a guy who was passed out, trying not to wake him, singing into my headphones. When I got to Friendship, I checked them out, and they had a cool texture, but they sound horrible. I layered them with phone vocals, but the airplane vocals are on the song. I ended up playing that song back to back with DJ Tennis, like an impromptu thing. He was playing the coolest song, and when I played this one was he was like, “What is this?” I died. This song is the cliffhanger ending with the lyrics “tell me what you want before you go.” She’s going, but this is part one, so we’ll see what happens.
Everything Will Come Together, Pt. 2 is well on its way, but the ending has yet to be written. It’s an adventure in the making, and you can be a part of the experience by catching Jay and his band of buds at select live dates across the United States. His band buddies are DJs in their own right, and all the shows will include DJ sets before the live performances, and maybe some after parties, too.
Credits to: Billboard
Bass Camp and The Bluebird Present
Justin and his bandmates will be performing open to close with dj and live sets until the early morning.
Friday, August 9th 2019
Hailing from Canada, 22-year-old Robert Hughes aka Vincent is one of the strongest forces in the world of genre-defiant, boundary-pushing electronic artists. Fusing the hottest sounds across trap music, future bass and unique styles in between, Vincent is perpetually setting the trends in his space.
Self-releasing several original and remixes with individual play counts in the millions, Vincent has exceeded expectations on the remix front. His official remix of Alison Wonderland’s “U Don’t Know” was met with critical acclaim and community support, and versions of The Chainsmokers’ “Paris,” Meek Mill & Drake’s “R.I.C.O.,” and Alessia Cara’s “Here,” became instant fan favorites.
Vincent’s original work distinguishes the producer’s appeal — burgeoning from the day one trap fans all the way up to new listeners. His breakthrough “Anax” became a summer anthem when dropped in 2015 and was followed up by “Her” and “Breathe”, a pair of cinematic efforts that proved worth the wait.
Primed to take the future by storm, armed with the talent and avant-garde approach to music that fans of today and tomorrow yearn for, Vincent is reinventing the electronic artist.
Credits to: Vincent Official
Premiere: Vincent Shares Intimate Acoustic Video for ‘Show Me,’ Featuring Aviella
Just weeks after performing back-to-back weekends of Coachella, Robert Hughes (aka Vincent) has plunged in with new music.
Today he’s revealing an acoustic performance video for his newest single “Show Me,” which is premiering on Variance and features Aviella, who contributed vocals on the track.
“After being a fan of Aviella for a while she sent me the demo that has since turned into this record,” says Vincent of the song’s origins. “I managed to finish this idea by leaving it for a few weeks without listening to it or working on it. A fresh pair of ears when I came back helped me to create something that wasn’t there at first. I never used to work like this, but every track on my upcoming EP has been finished this way.”
The Canadian producer first drew attention with his remix of Alison Wonderland’s “U Don’t Know” followed by a rework of The Chainsmokers’ “Paris.”
Credit to: Variance Magazine
Bass Camp presents Vincent – For You World Tour w/ Jaron
Friday, June 14th at The Bluebird Nightclub